WE'LL TAKE MANHATTAN

UK, 2012, 90 minutes, Colour.
Karen Gillan, Aneurin Barnard, Helen Mc Crory, Frances Barber, Anna Chancellor, Alan Corduner, Alex Jennings.
Directed by John Mackay.

We’ll Take Manhattan is a television film focusing on the early career of celebrated photographer, David Bailey, and model of the 1960s, Jean Shrimpton. It opens with their travelling by plane to New York City in 1962, Bailey clashing with his boss, Lady Claire Rendlesham. And this clash continues throughout the film.

We are shown the early career of Bailey, an assistant photographer, going out on his own, catching the eye of the editor of Vogue, going to work with Vogue, meeting Jean Shrimpton and fascinated by her, going to New York to do the celebrated photo-shoot in that city. We are also introduced to Jean Shrimpton, rather impassive, taken by her quiet parents to dance classes, with deportment. By accident, she is seen by David Bailey and invited to do a commercial, invited back, does many photo-shifts, goes to New York with him, falls in love, experiences the tension between him and his editors.

The film opens by saying that there was no youth culture in the early 1960s, no one became famous unless they were rich and the Beatles had not been heard of. It seems to put the changes in the 60s down to Bailey and Shrimpton. However much truth there is in this, they were certainly influential.

Aneurin Barnard is the cheeky Bailey. Dr Who’s Karen Gillan is Jean Shrimpton. Helen Mc Crory is the upper-class and cantankerous Lady Claire. Anna Chancellor appears as the director of the dance Academy and Frances Barber appears at the end as Diana Vreeland, approving the photo shoot.

1. The title, the popularity of the song? The Brits taking Manhattan? UK in the 1960s, the US? Photography, fashion?

2. The opening, the comment about the Beatles, famous celebrities, youth culture?

3. The transition from the 1950s to the 1960s, trends, the opening up of the new, the breaking of the seemingly staid 1950s?

4. David Bailey and Jean Shrimpton and their reputations, his fame as a photographer, working with Vogue, the photo shoots? Jean Shrimpton as the classic model of the 1960s?

5. The reproduction of the photo shoots, the actual photos – and their being seen during the final credits?

6. David Bailey, cheeky Cockney, young, his photos, working as an assistant, the sexual relationship with the model, his going out on his own, his photo taken up by Vogue? The offer of the job, his wariness, decision to go, the pay? Seeing Jean Shrimpton?

7. Jean, young, awkward, determined, her parents, the audition, the parents and their desires, class, deportment? The accident, being seen by Bailey?

8. The request for her to go for the advertisement, her clothes and style, his enthusiasm?

9. Claire, older, her position of authority, relationship with the editors, going to America, reluctantly? Her assistant and treatment of him? Anti-Bailey?

10. Going to New York, new style in photography? Bailey and Jean and the relationship? Falling in love? Together? The work, the photographs, his
photography?

11. The arguments with Claire, the vicious interchanges? Her sacking Bailey, phoning London, wanting her to stay with the photo shoot? Her putting up with this? Finishing the shoot? Bailey and his destroying the negatives, the discussions with Jean?

12. The success of the shoot, the return to London, the applause? Information in the aftermath about the characters, the success, Clare moving to Queen?

SELMA

US, 2014, 128 minutes,,.Colour.
David Oyelowo, Carmen Ejogo, Tom Wilkinson, Oprah Winfrey, Giovanni Ribisi, Andre Holland, Common, Tim Roth, Dylan Baker, Martin Sheen, Stephen Root, Wendell Pierce, Cuba Gooding Jr, Alessando Nivola.
Directed by Ava Du Vernay.


It is 50 years ago, this year, that Martin Luther King led the march on Selma. And this film is a worthy commemoration.

Martin Luther King, vilified by many during his life, especially by J.Edgar Hoover and the FBI, and losing his life to an assassin in 1968, at the age of 39. After his death, his wife, Coretta, campaigned for the introduction of a public holiday in his honour, something which was eventually achieved and is still celebrated.

Selma is a film that takes us back to 1964 and 1965. Audience knowledge of the 1963 March on Washington and King’s speech of his dream is presupposed. While the film is a portrait of King, it focuses on his racial equality cause, spread by non-violence, his political contacts, his collaboration with other activists, differences from the approach of Malcolm X, the issue of the Selma March. There is also some focus on his relationship with his wife, his infidelities but his love for Coretta, his care for his children, and Coretta’s standing by her husband, especially at Selma.

King and his associates are central to the film as his Coretta. However, the president of the time was Lyndon B. Johnson who inherited the presidency after the death of JFK but who was elected in a landslide in his own right in 1964. A Texan, he met with King and spoke to him by phone, challenged by an equality issue that King was raising: black Americans had the right to vote but, especially in the South, officials, from Governor George Wallace to petty bureaucrats, did their best to make it impossible for the registration to vote to be accepted. This is dramatised in an early scene when a nurse, played significantly and symbolically by Oprah Winfrey, tries to register and is asked how many districts there are in the state, which she answers correctly, but then fails because she cannot name the officials in each of the 67 districts.

King and a group went to Selma, Alabama, to decide whether it was a suitable place to have a march and a demonstration, the attitudes of the locals (shown to be fairly hostile with Confederate flags, spitting and denunciations) and the risk of protest and violence.

The apprehensions were not misplaced. In the first attempt, the troopers stood their ground and confronted the quiet and peaceful marchers, chasing them and brutally bashing them. King made television appeals to the American public who watched the television news of the events. For the next March, people from all over the United States, black and white, especially with religious leaders of all denominations as well as nuns, coming to help and to join in the March. Crucial to the campaign and public opinion was the murder of a Boston Episcopalian priest by local bashing thugs.

Governor George Wallace, his sheriffs and other officials had no time for black Americans, mouthing denunciations, even urging President Johnson to think about the dire and dread consequences if segregation was lifted…

Ultimately, the march did take place and is a satisfying ending to this film, although the drama comes in the preparations, the thwarting of the original march, the police trooper brutality, and the effect on the American public bracket heightened by our seeing excerpts of news coverage of the time edited into this film.

It is interesting to note that four of the central characters are played by British actors. David Oyelowo is a theatre actor from England, of Nigerian background, who played on the London stage, moved to the United States and appeared in the sheriff in Jack Reacher, the rebellious son in The Butler, the fellow-journalist in Paper Boy. He gives a powerful performance, an impersonation of King, yet getting inside King’s character and communicating his mind, his thoughts, his hopes, and his faith, seen significantly as he knelt on the bridge at Selma when the march was held up. He also captures the voice, the modulations, the power of rhetoric in King’s speeches. The film ends with King’s speech at the capital in Montgomery, Alabama.

British Carmen Ejogo plays Coretta King. Tom Wilkinson is Lyndon Johnson and Tim Roth is Governor Wallace. There is an uncredited appearance by Martin Sheen as the judge who presides over the case as to whether the march should go ahead. The rest of the cast is made up of a number of black character actors like Wendell Pierce, Cuba Gooding Jr, Andre Holland and white actors like Giovanni Ribisi and Alessandro Nivola.

This is a very earnest film, some American audiences finding it too preachy – although, for them, that might be an important point. As it is, this is a tribute to Martin Luther King and his achievement in the middle of the 20th century, a heritage that has lasted, despite frequent flareups, riots and injustices towards African Americans.


1. The 50th anniversary of the Selma March? 21st-century perspective, 50 years difference, the United States in the 1960s? JFK, Cuba, Vietnam, civil rights, race issues, 1964-1965 and Martin Luther King.

2. Audience awareness of this history, in the United States, in black communities, white communities? Universal? The effect of watching the images of racism? The 21st century view?

3. Martin Luther King and his presence, as a person, campaigning in his 30s, the knowledge of his death at 39? Preaching in Atlanta, his work, his faith, his God belief, God language? Relationship with Coretta and his children? His involvement with race issues, non-violence, the movements, the differences with Malcolm X? 1963, the March on Washington, the “I have a dream…”, The film’s presupposing this?

4. David Oyelowo and his screen presence, his impersonation of King, his bringing him alive? His stands, physical presence, age and bearing, being called Dr King, his oratory, his vocabulary, his modulation, its power to persuade?

5. His personal life, the relationship with Coretta, the tensions, his infidelities, the discussions at home, the touch of coldness and reserve, meeting Coretta, talking with her, but not kissing her? The decline in love, her going to see him in prison, the discussions, his saying he loved only her, the issue of her talk with Malcolm X and the differences in point of view, his change? Her going to Selma, her ideology, the support of her husband – even later working for the Public Holiday in his memory?

6. The effects of the March on Washington, LBJ, his perspective, after Kennedy, from Texas, his manner? His advice, the knowledge of the law? Friendliness towards King? His hesitancy about legislation on voting? The phone calls, the visits, King saying the ball was in Johnson’s caught?

7. The FBI, the visit of J.Edgar Hoover, his stances, suspicions, disliking King? His long years as head of the FBI? The captions throughout the film indicating time, place, information and being logged in?

8. The atmosphere in the south, Annie Cooper and her going to register for voting, the comments on her workplace, her manner, filling in the form, the test about the jurisdictions and her knowing, being asked to name all the leaders? Denied? The reaction and her involvement?

9. The stances, the scene with Malcolm X, non-violence? The gatherings, the meetings, the discussions, the idea of Selma as the place to demonstrate? King’s visit and with the others? The people?

10. Alabama? The states and the authorities? The segregation, the visuals of segregation? The incidence of racism, the flags, the speaking?

11. The gathering at Selma, the discussions, the brothers and their clashing? King and his advisers and their presence, his listening to them? The support of ministers and pastors? The assembly, the March, its dignity, the troopers blocking the way, the sheriff, the attack on the marches, the bashings, the death of John Lewis, his elderly father, the response of Martin Luther King? Going on television, his appeal to the nation?

12. The decision about the March, Johnson and his stances, not wanting it? The presence of George Wallace, the portrait of the Governor, his bigoted attitudes, discussions with the sheriff, knowing the law, but preventing black people from voting? His speaking of the consequences and integration? His visit to Johnson, the sparring, Johnson and his strong stance?

13. The March, King and the television, the number of people arriving, the religious leaders, the patriarch, the nuns, the priests of all denominations? The March, dignity, the confrontation, King nearly, everybody kneeling, the return?

14. The range of national people arriving, helping, the ministers, the priest from Boston, his friend, their being taken by the thugs and bashed to death? The PR consequences?

15. The arguments about King’s kneeling and turning back, the issue of violence, those wanting guns, the explanation of the consequences of a few killed by guns but the many hostages and reprisals? The impact on the television audiences?

16. The final advice to Johnson, Johnson and his decision to put forward the legislation? Wallace and the March, the troopers standing back, the success, the trek to Selma, over the days, the people supporting, the people spitting, helping with sandwiches, Harry Belafonte? The insertion of actual footage and its effect?

17. Martin Luther King at the Capitol in Montgomery, his speech, the impact and importance? Yet his assassination three years later?

18. The heritage of Martin Luther King, the power of his speeches and their continued impact?

DYING BREED

Australia, 2008, 92 minutes, Colour.
Nathan Phillips, Leigh Whannell, Bille Brown, Murrah Foulkes, Ken Radley, Reg Evans, Elaine Hudson.
Directed by Jody Dwyer.

Dying Breed received some praise from filmgoers who enjoy horror. What makes it distinctive are the Tasmanian settings, the use of locations, the Tasmanian bush and wilderness.

With Tasmania, there is a tradition of the convict settlement, the escapes, the notoriety of Alexander Pearce, his escapes, cannibalism, execution. The screenplay suggests that there were descendants of Alexander Pearce and that they had lived in seclusion in a bush town, with the tradition of survival and cannibalism. In the same years, there are two films about Alexander Pearce: The Last Confession of Alexander Pearce and Van Diemens Land.

The film also draws on the traditions of the Tasmanian Devil and attempts to find it.

In many ways, the film models itself on so many of the American horror films in the Texas Chainsaw Massacre tradition, group of young people, going into unfamiliar territory, encountering strange locals, experiencing being chased, caught, killed.

One of the writers was Leigh Whannell, who also appears as Matt. He has had a successful career in writing horror films and appearing in them, especially with initiating the Saw series. Nathan Phillips has appeared in many Australian films as well as in overseas films.

1. Australian exploitation films? Horror?

2. Utilising Australian traditions, the conflict, Alexander Pearce, his journeys through the bush, cannibalism? The Tasmanian Devil, extinct or not?

3. The Tasmanian locations, the small village, the river, the forests, the atmosphere of the Tasmanian wilderness? Musical score?

4. The search for the Tasmanian Devil? Research? Rebecca and her search for her sister?

5. The group, reminiscent of the American films of groups going into dangerous territory? Interactions amongst themselves? Later, being the victims of terror? Deaths?

6. The group assembling, Matt and Rebecca, Jack and his girlfriend? The car? The plans?

7. Jack, joking, insensitive, his relationship with his girlfriend, the friendship with Matt, going on the trip? Matt, more serious, research? The two women, the girlfriend, the sister and her mission? Interactions, Jack and his flirting, jokes?

8. The driving, the landscapes, coming to the village, run down, the hotel, the types in the hotel, the suggestions of inbreeding? The explanations about Alexander Pearce, suggestions of his descendants, the tradition of cannibalism? The look of the people, grubby, the little girl and her presence amongst the adults?

9. The young men, the scratching of the car and Jack’s reaction? The lack of amenities?

10. On the lake, the exploration, the decision to climb the mountain, setting up camp? The cave? Needing to get through it, the local and his fears, the guide?

11. Seeing the animal, the glimpse, taking the photo, its disappearance? The eerie atmosphere?

12. Mysterious presence, the girlfriend, her fears, pursued, dead, hanging? Jack, the attempts at escape, his being caught in the trap? Even the locals being attacked? The woman and her shooting the men, herself? Her reasons?

13. Matt and Rebecca, her being taken, going onto the bridge, Matt and his attempts to save her?

14. The flashbacks, the sister, with the village people, their taking her, her pregnancy, the little girl, falling to her death?

15. The men on the bridge, sinister, sexual attacks, the cannibalism? The little girl and her wanting food?

16. Rebecca, taken, imprisoned, torture? Matt and his being taken? The drink, his being paralysed, watching with horror?

17. How effective an Australian horror story with Australian characters, overturns, traditions?

COFFY

US, 1973, 91 minutes, Colour.
Pam Grier, Booker Bradshaw, Robert Do Qui, William Elliott, Alan Arbus, Sid Haig.
Directed by Jack Hill.

Even at the time, the first half of the 1970s, films like this received a label Black Exploitation, Blacksploitation. The films featured African- Americans, often in gangster films, and often in revenge films. The characters, their language, the scripted dialogue were from comic strips – later graphic novels. Everything was over the top, the situations were highly exaggerated and stylised, and performances seemed hyper rather than realistic. If the plots and characters were considered as realistic, they were ridiculous and absurd. But, in this Blacksploitation context, they offered excitement as well as some humour, even spoof.

One of the key performers in these films was Pam Grier, who 20 years later would appear in Quentin Tarantino’s Jackie Brown, and would continue to have a long career. At this stage of her life, in her early 20s, she could play the femme fatale, she could play earnestness and respectability, she could appear as the seductress, and she could also go into fistfights with other violent attacks, especially with women characters – and she was not afraid of nudity. These were also the ingredients of black exploitation.

To that extent, the films seem very dated, especially with the large hair and the colourful clothes of the 1970s, and can be considered the period pieces that they are. During the 1980s there was something of a lull in African American films but there was a revival in the 1990s and to focus on boys and activities in the ‘Hood.

This is a revenge film. It opens with Pam Grier being seductive in the back of a car, luring a flashy drug dealer into wanting to have sex with her – and then her shooting him, revenge for the drug addiction of her sister. Then suddenly she is in hospital gear, assisting at an operation, a respectable nurse. Then she is talking with her friend, a policeman whose partner is corrupt. Then she is changing into lavish clothes to go out with her would-be politician boyfriend. And she seems convincing enough in each of these roles.

When her policeman friend is bashed along with her and has brain damage, she decides to go further in revenge, setting itself up as a woman from the Caribbean, available to be a high-class prostitute, ingratiating herself with several of the drug dealers. She also discovers that her politician friend is in league with these criminals.

While she has some success in getting rid of these bosses, even with their own guns, she herself gets beaten up, but has the nous to escape, being pursued by corrupt police in their cars, discovering that her boyfriend was exploiting her – and finishing up getting rid of all of them.

At the beginning she is wondering about her conscience and this kind of killing but she gets reassurance and is encouraged as she goes on.

So, with the exploitation, there is a lot of violence, a lot of sex and nudity, a lot of women’s fights, a lot of glamour, and some sleaze. The writing and directing is by Jack Hill, a director of many exploitation films including Foxy Brown with Pam Grier.

BLUE CAPRICE

US, 2013, 96 minutes, Colour.
Isaiah Washington, Tequan Richmond, Tim Blake Nelson, Joey Lauren Adams.
Directed by Alexandre Moors.

A blue Caprice was the car that the two protagonists of this film by so that they could go on this killing spree across the United States, killing indiscriminately, a whole range of people in American society. The killings were known as the Beltway killings.

The film opens in Antigua, focusing on a mother leaving her 18-year-old son, Lee, a silent boy, who becomes interested in a visiting African- American man, John, who is playing with his children. John adopts Lee and becomes his father figure. When they go to the United States, John resumes his old life, meet his friend Ray, Tim Blake Nelson, an expert in firearms who trains Lee who, in fact, is an accurate shot.

The film is quite frightening in its psychological portrait of an older man grooming a younger so that he would become a killer, sharing in the older man’s ambitions to kill at random, his anger against society. As, the audience watches, perhaps sometimes bewildered, at the young man’s assimilation of the values, even studying manuals on being a sniper.

Tequan Richmond is effective as the young man, silent, in need of affirmation and affection, finding it in the stranger, played by Isaiah Washington, who is one of the film’s producers, giving himself the sinister role.

Some audiences find it difficult when films dramatise real-life tragedies as this one does. However, it does not dwell on the killings, but rather on the psychological relationship between the two.

1. A true story, a small, independent film?

2. The value of dramatising this kind of true story, the touch of the sensational, this film being comparatively reticent in its portrayal of the serial killings, focusing on the assailants, their methods, their motives?

3. The portrait of the two men, the influence of one on the other?

4. The opening in Antigua, the Caribbean, Lee, his age, his mother, her leaving? His being taciturn? Alone, wandering? The beach?

5. The encounter with John, the children, the invitation to join them, John rescuing Lee from the water? The meal? His feelings, the sense of belonging with John, listening to his stories, his children and the custody issues?

6. Going to America? To Washington State?

7. John, good with his children, a father figure to Lee? The story, his children, anger about their abduction, the law and his rights? The girlfriend, telling her the story? The law and decisions? Taking Lee around the town, showing the house of the woman who testified against him – and her later being the victim of Lee and his impersonal shooting?

8. John and his friendship with Ray, the past, the importance of guns, the shooting practice, Lee and his interest, the range of guns, his accuracy?

9. Jamie, the baby, Ray, with John, with Lee?

10. The gradual grooming of Lee by John, sharing the violence, the hostile attitudes, the amoral attitude towards killing? The gradual incitement to killing? The reasons given, Lee and his reading, going to shoot the woman at her door? His realisation that he had made a mistake? The effect of killings on him?

11. The reading the book on snipers? His growing expertise through his reading, reflection, discussions?

12. The buying of the car, changing it so that there would be the sniper’s hole in the back of the car? The ride around the town with the man to get guns, his refusal? Ray and his examining the car and realising what it was for?

13. Going across America, the choosing of victims, arbitrary except for having someone to represent every aspect of American society, young and old, men and women, children and adults, races? John and his seeming indifference except for the fact that he was fulfilling some kind of fate in killing people? The effect on Lee, his choosing the victims, the angles, shooting them?

14. The glimpses of the victims, their deaths, their being set up, people moving out of focus and their lives being saved?

15. No scene of the arrest? Lee, the interrogation, his explanation of himself after his silence, the reasons for killing, the lack of reasons? His main question about where John was, where was his father?

16. The impact on the audience, the deaths, serial killers in the United States, the availability of weapons? The mentality? The intense portrait of a man grooming a younger man to fulfil his ambitions and violent desires?

THE INVISIBLE

Canada, 2007, 101 minutes, Colour.
Justin Chatwin, Margarita Levieva, Marcia Gaye Harden, Chris Marquette, Alex O' Loughlin, Callum Keith Rennie.
Directed by David S.Goyer.
The Invisible is based on the Swedish film of the same name. It has been adapted for a North American setting, a small town, a small community.

The central character is Nick, played by Justin Chatwin, an 18-year-old who has ambitions to go to London to a writing course. He becomes involved in the difficulties of his friend, Pete, and of his girlfriend. His blamed by Annie, a reckless student at school, involved in jewellery robbery, drug dealings and money extortion. She thinks he reported her to the police and so she and her friends bash him, she being very vicious, causing his death and his body being thrown into a well.

However, he is not entirely dead, becomes invisible, neither seen nor heard as he desperately tries to communicate, learning about what happened to him, watching his mother and her grief about his death. She is played by Marcia Gaye Harden.

The film spends a lot of time with Nick moving around, turning up everywhere, learning more about himself, unable to communicate until Annie herself is shot and becomes one of the invisibles, becoming conscious and enabling the authorities to find Nick’s body and help his revival.

1. The title? Expectations?

2. Ghost story, death experiences, near-death experiences? Purgatorial experiences?

3. The locations, the town, homes, the party, school, apartments, the dingy aspects of the town, the countryside, the dam? The musical score?

4. The focus on Nick, his age, birthday party, his ambitions in writing, to go to London, disagreeing with his mother, her forbidding it? His finishing school? His friendship with Pete? Pete and his difficulties, Nick stepping in, the clashes with Annie, the drug issues? At the party? The group bashing Nick, thinking that he had betrayed them to the police? The brutality, Annie and her viciousness, throwing him in the well?

5. Nick, seemingly still alive, yet invisible? His trying to make himself seen and heard, in the classroom, his having read the poem, his girlfriend and her response? The teacher? Waiting till he returned? The scenes with his mother? With Annie? His blaming her? And his puzzle about her kind reactions to her brother and caring for him? His accepting that he was not heard?

6. Pete, friendship, a weak character, his debts, the drugs, reliance on Nick? The confrontation with Annie and the thugs, his blaming Pete the phone call after they suspected him, Annie noticing him looking at her and the locker? The brutality? His participating in the attack on Nick? Worrying where the body was?

7. Diane, the detectives and their questions, and not expressing her emotions, the death of her husband, the love for her son, reading his poem? Her
concern about his body?

8. Annie, tough, her brutal stepfather, love for her little brother, her antisocial behaviour, at school, attitude towards Pete, towards Nick? The jewel robbery? The police, suspecting Pete, his involving Nick? Her relationship with Marcus, his being out of jail, love, going to see him at work, the issue of the body and its removal, the confrontation and her learning that Marcus had reported her to the police? The final confrontation, her being shot, becoming invisible and helping, death?

9. Marcus, criminal, relationship with Annie, the robbery, his work, wanting to preserve his reputation and parole, the body, clash with Annie, his death?

10. Pete, his being shot, his becoming one of the invisibles, interaction with Nick, Nick forgiving him?

11. Annie, shot, also becoming one of the invisibles? Trying to help Nick? Her consciousness, indicating where the body was? The dam and the water falling? The detectives and desperately rescuing the body?

12. Nick, his revival, his going to talk with Annie’s brother, going to London, resuming his life?

ILO ILO

Singapore, 2013, 99 minutes, Colour.
Yann Yann Yeo, Tian Wen Chen, Angeli Bayani, Jialer Koh.
Directed by Anthony Chen.

Ilo Ilo is a first feature from Singapore director, Anthony Chen. It is quite an accomplished piece of work and was screened in many festivals around the world, winning him an award at Cannes.
The setting is 1997, the beginnings of financial crisis, affecting families and their way of life. This film focuses on a young boy, mischievous, obstreperous with the teachers, and fighting other students. He is much the same at home. His father is a quiet man who loses his job. His mother is successful in her work but is pregnant. They make a decision to hire a maid.

She is from the Philippines, has a child at home, but needs the money to support her child and his care. She is successful in the household, but the boy is antagonistic towards her, especially as she shares his room. After he is accidentally hit by a car, and she shows him care, they begin to bond, doing many things together, his opening up, feeling some affection, with the result that his mother is more than a touch jealous.

With hard times, the family have to let the maid go and she returns to the Philippines. But, they are the better for having had her in their house.

1. An interesting film from Singapore? Characters, situations? The 1990s?

2. The visuals, the city, the streets, homes, school, firms? Interiors? Musical score?

3. The film and its social statements, the Chinese in Singapore, affluence, servants, jobs, schools, the touch of arrogance, attitudes towards foreigners? Financial crisis and change of situations?

4. The young boy, mischievous, at school, clashing with the principal, at home, the touch of arrogance, relationship with his parents, reaction to the food? His room, clashes, moods? His hostility to having a maid, to Terry herself? His treatment of her, talking with her, sharing the room and his reluctance? At meals? His lacking discipline, outside playing, on the bike, Terry chasing him, his being hit, the hospital, his arm in a sling, his needs?

5. The father, the designer, a quiet man, at home, secretly smoking? The demonstration and the break? His being fired? No jobs, security guard work and paying by the hour, the accident, his leaving? His relationship with his wife, frustrations? Sharing the cigarette with Terry?

6. His wife, at work, busy, the phone calls, having to go to the school, reprimanding her son? At home, the meals, pregnant? The school and contacts at her work, her friends at work? The second incident, the boy and his hurting the other boy, reaction of the principal? At school, the principal’s speech about violence? Difficulties with her son? The decision to hire a maid, the interview with Terry?

7. Terry, from the Philippines, the interview, her being hired, her work, sharing the room with the boy, the wife giving her some clothes to wear and her later wearing them? Cooking, a place at the table? The boy, his hostility, going out the wrong door at school and Terry being locked out, the observations of the neighbour? Lack of discipline? Chasing him, the accident, his accepting her, the gradual building up of the bond, his betting? Terry and her phone calls to the Philippines, her son, carefully him? Her day off, going to the centre, looking for jobs? The hairdressing job, the boss, the other women? The difficulties? Her being let go, sad, their farewell at the airport?

8. The effect of Terry on the boy, his change, feeling affection, sharing with her, talking and playing? His mother wary and the touch of jealousy?

9. A portrait of family life, difficulties, stress, collaboration?

10. 1997 – and the future, financial difficulties, prosperity and recovery?

FIGHTER SQUADRON

US, 1948, 96 minutes, Colour.
Edmond O’ Brien, Robert Stack, John Rodney, Tom D’ Andrea, Henry Howell, Shepperd Strudwick.
Directed by Raoul Walsh.

Fighter Squadron is a 1948 film, one of those tributes to squadrons for their action during World War II, this time an American group, based in Britain, involved in bombings of Germany. There is very little to suggest how the Americans fitted into the British countryside, except with the entrepreneur Sgt, played by Tom D’ Andrea, who seems a very strong anticipation of Sgt Bilko.

The focus is on the flyers, the missions, the strict rules of combat by a conservative general and the openness of another general to experiment and take advice from the pilots themselves, especially about rescue attempts, of ditching fuel for lighter roads on return…

Edmond O’ Brien is the hardcase pilot, having served in China, not one to over-respect the rules until he is put in charge. Robert Stack is his friend who is in a dilemma about rules against getting married, causing split-second hesitations in bombing decisions. Henry Hull is the energetic open general while Shepperd Strudwick is the severe general.

Roald Walsh had been directing films for 30 years by this time, in silent films, in action films in the 1930s, at Warner Brothers in the 1940s and 50s, working into the 1960s.

In many ways it is a routine story, but given energy by the aerial sequences, in colour, and the incorporation of actual footage from war action.

1. 1940s war film, memories of World War II, tributes, seen in retrospect? The 21st century perspective?

2. The colour photography, the British locations, aerial action? The use of actual footage?

3. The bombing of Germany, the role of the British, the role of this American Squadron? Their hits, records, dangers, seeing them in detailed action, the pilots, the gunners, wounded, crashes, rescues?

4. The two generals, Mc Cready and his openness, energy? The contrast with Gilbert, by the book, cautious rules, the importance of obeying orders, suggesting court-martials, even for fighter aces?

5. Harden, his background, in China, freelancer, in the war, bombing raids, his risks, rescuing people? His friends, especially Hamilton? His obeying orders, disobeying orders, discussions with Gilbert, with McCready? His friend’s promotion? Being suggested for command? His accepting? His having to be strict with the men, a stickler for rules, yet his requests to the general, the changes of method?

6. Hamilton, friendship, easy-going, his fiancee, wanting to go home, submitting his resignation, the clash with Harden, returning, on the mission, his death?

7. The portrait of the other pilots, camaraderie, scenes in the mess together, friendships, supporting each other? The new pilot and his supporting Harden?

8. D- Day, the involvement, the troops on sea and land, giving information to bomb particular areas to protect those on shore, the intervention by the Germans – and not understanding who the Dodgers were?

9. The Sargeant, mischief, the entrepreneur, his schemes, changing his name as he went about the country getting rid of the black cat, with the women, the complaints, identifying him in the photo? His assistant and his putting him down yet promising anything? Finally in prison?

10. The final tributes to the men and their achievement and the contribution to the war effort?

FAITH LIKE POTATOES

South Africa, 2006, 116 minutes, Colour.
Frank Rautenbach, Jean Wilhelm, Hamilton Dlamini, Sean Cameron Michael, Regardt van den Bergh.
Directed by Regardt van den Bergh.

Faith like Potatoes is based on an autobiographical story by Angus Buchan, a Scotsman who moved to Zambia and into South Africa. He is presented as an angry man, struggling with his farm work, and racist in some of his behaviour. He decides to move to South Africa and to farm there, living with his wife, pregnant, and three children. The work is hard, and he is continually on edge, angry with some of the Zulu people whom his white friends say are unreliable.

He is persuaded by his wife to go to a parish function at the Methodist Church, goes to the church the next day, is moved by the preacher’s words and commits himself and his family to Jesus. A whole transformation takes place, he learns Zulu, is more amenable with the workers, has a peace of mind, sets up a social centre, becomes a lay preacher, organises a huge rally in Kings Park, seems to have the gift of healing although this is challenged when his nephew was killed in a tractor accident.

The film shows photos of Buchan, his wife and family during the final credits.

This is a very sincere, evangelical film, aimed at a target audience of believers, probably not very persuasive to non-believers. It was written and directed by the actor-director, Regardt van den Bergh. He has directed a number of films, especially the Visual Bible version of The Gospel of Matthew and the Visual Bible Acts of the Apostles.

1. The target audience, believers, their being satisfied with the film? Its impact on non-believers? A Christian impact?

2. A true story, based on the autobiography by the central character, Angus Buchan? His portrait of himself, his early angers, hard work, nerves, racist behaviour, the religious conversion, committing himself and his family, his prayer, speaking with God, powers of healing? The challenge to his beliefs, the death of his nephew? His support from the local minister? His achievement with the rally of farmers in Kings Park?

3. The locations, Zambia, South Africa, the countryside, the churches, towns, Kings Park? The musical score, religious music, hymns?

4. The screenplay, expository, inspirational? The brief episodes, the lack of indication of time passing, development of character or remaining the same? Episodes in glimpses? The dramatic impact – and the loss of dramatic impact?

5. The Buchan family, in Zambia, hard work, labour, the crops, failure? Angus and his family? His pregnant wife? His angers, attacking the man in the truck for bad driving? His wife trying to control him?

6. The decision to move to South Africa, the land, the lack of water, the issue of crops, his trying to get the tree stump (and finally the Zulus removing it)? Living in the trailer, the children going to the local school? The Zulus, offer of work, his resistance? The white club, the policeman, the farmers, playing polo? The advice about the Zulus and trustworthiness?

7. His accepting the workers, their offering to build a house, the housebuilding? In a short time? The issue of driving the tractor, the crash, his anger? Playing polo, tranquillisers? His wife persuading him to go to the Methodist meeting, his reluctance, anger about wearing the tie? Invited to go to church?

8. His going to church, the preacher, his practical spirituality, Bible language? Angus being moved, deciding to go up with his family to dedicate himself to Jesus? The minister giving him the Bible? The minister, is easy style, not always in religious dress, out in the fields, encouraging Angus?

9. The transformation of his life, learning Zulu and speaking it with the Zulus, kinder to his wife and children? The charity centre? His personal beliefs, prayer, the commission to tell friends of his commitment? Their reactions? The issue of the farms, the idea for the crop of potatoes, his brother’s idea? Impractical, the banks calling in his money?

10. The idea of the rally, going to the managers of Kings Park, talking with the minister, his plans, the phone call, acceptance of the proposal, the glimpses of the rally and his speech?

11. The background of the family, the meetings, the nieces and nephews, going on the tractor, the accident with the boy, going to the hospital, his death? The effect on everyone? Angus and his blame? His brother ring after having the dream about his son?

12. The decision about the potato crop, the lack of rain, having faith, with Simeon in the field, eventually giving, the large potatoes, everybody’s joy?

13. The Zulus, Simeon and his office, friendship with the years, the other men in their work?

14. The lightning, the storm, the woman struck by lightning, Angus praying, reviving?

15. The impact of the film, faith-inspired?

STILL ALICE

US, 2014, 101 minutes, Colour.
Julianne Moore, Alec Baldwin, Kristin Stewart, Kate Bosworth, Hunter Parish.
Directed by Richard Glatzer, Wash Westmorland.

It was extraordinary the silence in the cinema as people, we together, watched Still Alice. What were we thinking, what were we feeling? Were we identifying with Alice personally, the early onset of Alzheimer’s disease, the fact that she was only 50, that she was a world-class academic and expert on linguistics and was suffering deterioration in her deepest talent? Were we thinking about relatives or friends with Alzheimer’s, trying to appreciate the condition, their feelings? Had we had some experience of care for a person with Alzheimer’s or was this a prospect to come? Watching the film was certainly a personal, sad, even draining experience.

That we felt and thought this way is to the credit of the film, based on a 2007 novel by Lisa Genova, and its very sensitive screenplay by the writers-directors, Richard Glatzer and Wash Westmoreland (whose previous career focused on features and documentaries on gay issues).

But, of course, it is to the credit of Julianne Moore and her award-winning performance. Julianne Moore has been a significant actress for over 20 years, creating many memorable characters. But Alice is a major achievement. And the screenplay doesn’t stint on showing her experiences, the initial touches of forgetfulness, even when giving a significant national lecture, her groping for a memory to continue. While jogging to Columbia University where she was on the staff, she suddenly is bewildered and does not know where she is.

It is in the ensuing sequences that are important for Alice and for her husband, John (Alec Baldwin) to understand what is happening, that we learned the background for the early Alzheimer’s. She consults a neurologist who does verbal and memory tests, which she is unable to complete successfully. MRI follows, the accumulating of information, and the neurologist explaining to her and John, as well as to the audience, how rare it is to have an early onset, but the physical realities, the genetic inheritance, and the pessimistic, but real, prognosis.

There is great subtlety with which Julianne Moore portrays the initial phase, the growing difficulties, and a most poignant scene where she and John tell their three adult children what is happening, including the genetic possibility for one of the children to have the same experience. In another, also most poignant scene, where Alice visits a home for sufferers from Alzheimer’s, getting a tour, seeing the elderly people, sitting quietly, getting agitated. The nurse giving the tour obviously thinks that Alice is looking at the place for a parent to settle there.

Part of the silence of the audience watching the film was in the intense concentration in watching the details, even small details, of Alice losing the words, the thread of conversation, not recognising somebody she had met moments earlier, unable to read a book, repeating the page, even unable to find the bathroom at the house on the coast where she loved walking along the beach, contemplating the water.

Alec Baldwin is the sympathetic husband who has to sacrifice aspects of his own academic career and promotion - and that is quite a stretch for him as an actor because he always seems a touch cynical, ready for betrayal rather than fidelity. A final scene where he takes Alice to a favourite place for an ice cream and she can only repeat his words is very moving.

Kristin Stewart (Twilight) is Lydia, the younger daughter, who has decided not to go to college, who wants to act in California, finds it difficult to get auditions, with her mother interfering and wanting her to be better educated, with a backup plan. Towards the end of the film, she appears in the final scene of Chekhov’s The Three Sisters, with a part of a speech about her hopes and going to the city. Lydia comes to stay with her mother and care for her, the film becoming ever sadder and sadder.

It is surprising, though not really surprising, how tearful one feels writing this review and re-living Alice‘s experiences, the woman and her dignity, remembering Alice gone, but still Alice.

1. The title? The focus on the person, the dignity, identity, despite illness? Despite Alzheimer’s disease?

2. The audience identifying with the story, with Alice? The prospect of Alzheimer’s? Members of the family with the disease? The role of the carers?

3. New York City, apartments, Columbia University? Coast, at the beach? The musical score?

4. The cast, Julianne Moore and her impersonation of a woman with Alzheimer’s?

5. The information for the audience about the early onset, physical deterioration of the brain, growths? The genetic aspect? The development of the disease, the transformation of the person? Slight forgetfulness, greater forgetfulness, being lost, not remembering and not thinking that something had been forgotten, the reliance on others, the disappearance of the personality?

6. Alice, intelligent, her linguistic skills, academic reputation and knowledge, the textbook, world acclaim, the lectures? The guest lecture and her fumbling a word? Aged 50, her aplomb? The beginning to forget, the jogging and lost at the University, absent-minded, her playing of word games and Scrabble to keep our alert? Her memories of her mother and sister?

7. The visit to the neurologists, describing herself, the episodes, the word tests and her failing some, with names and addresses? The interview about herself, her relationship with her mother, the love of her sister, her alcoholic father, his death, no real contact? Meeting John, falling in love, the years of the marriage? Her love for her children? Their achievements, Lydia and her wanting to be an actress, Alice’s visit, their discussion, her mother’s right to interfere? Anna and her marriage? Tom and his medical studies?

8. The tests, the MRI, John and his visit with the neurologist? The explanations? John and his skills in intelligence and research?

9. John as loving, his personal achievements, love for his wife, acknowledging the reality that was to come, patience and care, the effect on his life, the promotion for the Mayo Clinic, the prospect of moving?

10. Anna, her husband, not having any children, age, trying fertility? The success? Her pregnancy, with twins? The visits to her mother? Her antagonism towards Lydia? Her giving birth, letting her mother hold a child? Thomas a doctor, successful? Lydia, not going to college, acting, her father giving financial support, her mother not knowing, her visits, her hopes, auditions? Her coming home to care for her mother, her patience, her mother binding and reading the diary and her being upset, the argument, the apology, on both sides?

11. The poignancy of the scene when Alice and John told the children, the different reactions, Anna checking and finding she had the genetic possibility? Lydia not trying to find out? Alice, the visit to the nursing home, the picture of the elderly, the sitting, no visitors, agitation? The kindly nurse, but thinking Alice was checking for her parents?

12. At home, her jogging, having the ice cream, missing the meal and the appointment, fears that she would embarrass John? The gradual decline, and the details, in the house? At the computer, using Skype for media? Her instructions to herself, when she could no longer answer the questions, and when it happened, having to check the computer, bring it upstairs, her fright, dropping the pills? The previous abilities, cooking, the Christmas meal? Having their help in the house, her being upset?

13. At the coast, reading, with John, on the beach, her going to the lecture for the Alzheimer’s Association, explaining how she used yellow lining pen so that she would not repeat any lines? The success of the speech, even joking about dropping the papers?

14. The importance of memories, her watching the film of her mother and sister? The loss of memories in the loss of personality?

15. Sitting in the Park, walking with John, the having the ice cream together, her repeating his words? Going to the play, seeing Lydia in the Three Sisters and enjoying it? And Lydia reading to her but not comprehending, unable to articulate words, trying to say “love”?

16. The final decline, Alice lost, but still Alice?